Furikaburi |
| 02.07.2010 |
| Iaidoblog >> Technique |
Has a sword edges?
The sword must often carry extreme changes of position. So that the blade is kept in accordance with its form angular movements are inappropriate. The blade curvature should correspond to a circular motion (paradox: To move a rigid object soft).
We need to find a connection between body and sword, and get involved in the resulting complications. Without connection of body and sword the sword becomes the subject. We would leave the do in order to use tricks and skills.
Furikaburi at Mae
Consider, for example in Seitei Iai Kata Mae. It is pointed out that the sword—in accordance with the Nukitsuke—is moved in a sweeping motion around back & up. The sword should not drop below a horizontal line so always rise. In ZNKR Iai is a rule: the Kissaki (blade tip) is moved past the back like stabbing to the left. This setting is understandable for beginners but leads to senseless movement (in reality, the sword is raised rather more direct way to the top).
Upswing and cut
Such statements help to give beginners a sense of the otherwise unconscious executed part of the sword guidiance. It is often overlooked that a good cut not only Tenouchi is needed but also a good upswing. We cut best with a feeling of Monouchi (the front third of the sword). Just this part should also be felt when one swings back. Therefore we must get away from angular sword leadership as is being considered for Furikaburi Mae for example. In extreme stab to the back it is too angular, in the other extreme like direct lift from Nukitsuke to the position overhead.
A sword is not a stick
The line of motion with a straight stick allows abrupt kinks in motion but not with a Japanese sword. Proper motions will correspond more imaginary curves. Imagine a parabolic shape. This form is illustrated in three dimensions: usually slowly rising, then more steeply—to study well during the upswing chiburi—but that’s another subject.
Sword movement is not everything
We can think about the ideal line of movement of Furikaburi and trace it with a sword in your hand into the air. Thus risking permanent inflammation (Epicondylitis) of the tendon. These »tennis elbow« problem (must be renamend »Iai Ellbow«) referred to a Iaidoka shows that his approach is excessive force from the arm. Furikaburi should happen of smooth holding of the whole body. The motion must feel thus very easy. Check:
- The left hand reaches handle right at the end of Furikaburi?
- Does the sword feel light (but don’t hurl the blade around)?
- Do you move the knee down and simultaneously your sword up?
- Is your Furikaburi determined by soft movement of the whole body?
Speed
Furikaburi should be carried out quickly, so lose no time. If someone does for example in Kata Mae such motion segment: Nukitsuke—Furikaburi—Kiritsuke in 1-Series rhythm, everything takes too long. Furikaburi is only half as long as the other two movements! This happens only with perfection of the motion sequence, otherwise you suffer complications like described above. Furikaburi should be felt as a slight movement. Nukitsuke, Kiritsuke however are »full« movements. This you should feel that way and hold separate.
Conclusion
You have to study Furikaburi movement as a link carefully and not just locally. A good cut is based on a good Furikaburi. A good Furikaburi must harmoniously fit into the whole movement.
Last changed: 05.05.2012 at 16:25
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